Grinnell Symphony Orchestra Analysis

This review is about the Studio Big Band and their performance in the Casa Loma Room at the University of Redlands on Thursday, February 23rd at eight in the evening, under the direction of Prof. David Scott. The concert was made up of the following tunes: “High Maintenance” by Gordon Goodwin, “Four” by Miles Davis (arr. Dave Bardhun), “Nica’s Dream” by Horace Silver (arr. Frank Mantooth), “Witchcraft” by Cy Coleman (arr. Sammy Nestico), “Footprints” by Wayne Shorter (arr. Mat Harris), “Category 4” by Jeff Jarvis, and “Giant Steps” by John Coltrane (arr. Mark Taylor). The music on this program was very relevant for the eras we are covering or will be covering soon in the class, and to this end, the piece I will be focusing on

On November 17th, 2016, I attended a jazz concert and had quite a time. The experience was captivating, and gave me a warm feeling inside. There were three different bands that play in the hour slot, and all of them sounded magnificent, but “The Santé Fe Jazz Combo” and “Santa Fe Big Band” stood out the most. The only thing these two bands have in common is that some of the musicians play in both bands. Otherwise, these jazz fanatics are polar opposites.

Hispanic people are people of passion and richness. Throughout their history, they have experienced hard work in the migrant fields, discrimination, and exploitation. When the Depression came, they were accused of taking jobs away from ‘real’ Americans (Florido, 2015), From the 1940’s through today, people still complain about illegal Mexican immigrants who come to the U.S. They claim the immigrants are uneducated with no job skills, stay in poor housing, and lack education. It is against this backdrop that Chicano musicians write their music. They play with a soulful timbre that music lovers throughout the world seek as they attend their concerts, buy their albums, and download their songs.

John F. Szwed resides in Connecticut, and he is currently a professor of anthropology, African-American studies, music, and American studies at Yale University. He has written seven books on music and African-American culture and numerous articles and reviews on similar subjects. Szwed has received honors including a Guggenheim Fellowship and a Rockefeller Foundation Humanities Fellowship.

"A conversation with Dennis Mcnally music and race in the 20th century". (n.d.). Retrieved from http://www.grammymuseum.org/events/detail/a-conversation-with-dennis-mcnally-music-and-race-in-the-20th-century

On April 11th, 2017 in the Louis Armstrong Theatre, I attended the GVSU “University Band”. This up-beat ensemble lasted about 90 minutes; the talented students of GVSU’s university band joined together to perform multiple different songs ranging from a Waltz to a Dixieland Jamboree. All of the songs that the band played for the audience were all well-known, popular songs that they all enjoyed. Having the opportunity to attend this concert has opened new musical paths for myself and has allowed me to enjoy and kindly critique something that I perhaps would have never had the chance to otherwise.

George Gershwin‘s opera Porgy and Bess is said to have been racist and outdated even in the time that it was written in 1935. There are many aspects of this work that are incorrect and prolong stereotypes about African Americans by depicting them as violent and religious. Gershwin classified this opera as a folk opera, a term which was offensive to African Americans. George Gershwin, arguably a great composer, composed an opera that is considered to be controversial due to its negative representation of African Americans. Porgy and Bess is a cultural artifact and when discussing it we bring up complex issues of race from the time it was written and even to this day in the United States.

In this research paper I will be addressing the misappropriation of Native American music in the American popular music. Throughout this course I have learned how Native American music and culture has evolved through the history of the United States, from being taken advantage of by George Washington and being forced to mine for gold, having to fight for equal representation in the film industry and not receiving respect for the music they create. Discussion will include defining and elaborating on Singing Redface, Racial Antipathy, Idealized Sympathy, Cultural Misappropriation, Cultural Confusion, Black Minstrelsy and Playing Indian and analyzing an example of Singing Redface from chapter 6. Building upon the last paragraph, “Most commonly

East Carolina’s Concert band and Symphonic band performed on Tuesday, February 16, at seven thirty in the evening in Wright Auditorium. Being a duel performance it included over a hundred of my talented East Carolina peers led by outstanding band Directors Dr. Juchniewicz and Dr. Staub. Along with great students and Directors, the show incorporated a beautiful trombone solo performed by a fellow colleague. Although I have never attended a concert where such style of music was being performed, I did enjoy the music being played and most of them sounded as if I heard them before. The professionalism the students portrayed and maintain to the audience was breathtaking and made me honored to be their peers.

In this peer-reviewed academic article the central argument was that in many schools only Caucasian music and literature is being learned about instead of Native American music. This is an issue because children in school now are not able to learn about a different culture due to the limitation of only learning about Caucasian music and literature. Also, another issue is that since the world is made up of many different cultures, the students should be learning about more than one to get a better understanding on that culture. The result of this is children will understand the history of Native Americans and the different types of music from other cultures. Another result is that children will not understand the meanings behind these types of music and literatures.

On January 28, 2016 I went with my choir to the Peace Center to watch a poet and musician in a show called Southern Voices: Black, White, and Blues. The show included a African American female poet, Glenis Redmond, and a white male blues musician, Scott Ainslie who came together to spread the message of the Old South. Both Glenis and Scott shared personal experiences and then performed a piece based on the story. They mostly performed individually but did perform some pieces together.

On the first of November I visited the Performance Art Center, on Texas State University’s campus. There I saw the Texas State Jazz Ensemble perform with guest, Steve Houghton. The performance began at 7:30pm and lasted for an approximate hour and a half.

On October 13, I attended a concert by the UT Jazz orchestra at the Bates Recital Hall. This performance consisted of seven pieces and all were stylistically different, which allowed the audience to enjoy the various sounds of jazz music. Among the instrument groups, there are saxophones, trumpets, trombones, piano and drums. Professor Jeff Hellmer served as director andJohn Mills appeared as guest conductor. The whole concert made a lasting impression on me.

Musicians of all genres have spoken up against the racial inequality that is happening in America and throughout the world. These are the voices that have lived and witnessed injustice based solely on their race and skin color. As a result, musicians have deep emotional ties that have affected the lyrics and tones that artists take on in hopes to send a message. This musical revolution is nothing new, it has been around since the beginning of racial oppression as a means of optimism, but now, music can help spread the message of racial oppression. This message is spread in hopes that the views and opinions of society are altered and that future generations learn from mistakes of the

While listening to the video by Doc Severinsen and the Last Cruces Symphony Orchestra, I came to a conclusion that it does not take just one person to make a great performance, but an entire orchestra. The Cruces Symphony Orchestra and Doc Severinsen, in the video, performed magnificently together without any issues internally and externally. Comments were made by other listeners, which most comments were positive with some negative references to the erroneous grammar usage by the publisher of the video from the YouTube website. In another note, the title of the video, as previously mentioned, is Doc Severinsen with the Last Cruces Symphony Orchestra played on August 25, 2007. In addition,